In the years since the Second Vatican Council, many collections of music for Catholic worshiphave emerged that address the desire of the Council to promote the full, conscious, and activeparticipation of the faithful in liturgical celebrations (CSL 14). The emphasis of these collectionshas been on vernacular texts for sung liturgies, especially those texts designated as the people’sparts.

In response to the Council’s mandate, composers have produced dozens of settings forEucharistic acclamations and responsorial psalmody, as well as psalms, hymns, and spiritualsongs for general use in worship. The latter have been widely used in the Mass as substitutes forthe entrance, offertory, and communion antiphons.

This Simple Choral Gradual is intended to provide settings of the approved texts from theRoman Missal (1985) for the entrance and communion antiphons for Sundays and Solemnities ofthe Church year, with accompanying psalm verses as prescribed by the Ordo Cantus Missæ. Itprovides settings of offertory antiphons found in the Graduale Romanum, as well asaccompanying psalm verses from the Offertoriale Triplex. It also provides antiphons andresponses for special rites, including the distribution of ashes on Ash Wednesday, the washing offeet on Holy Thursday, the reproaches and veneration of the cross on Good Friday, and thebaptismal responses for the Easter Vigil. English translations of the offertory antiphons and allaccompanying psalm verses are taken from the Grail Psalter (1963).

Simple Choral Gradual is intended primarily for small parish choirs, recognizing the traditionalrole of the choir to sing these texts. Nevertheless, the antiphons are written to allow—in fact, toencourage—the congregation to respond with the choir, following the form of the responsorialpsalm. The melodies are written in step-wise motion, seldom exceeding a range of a fifth orrising higher than middle-c. The melodies generally employ one or two repeated phrases (threefor the longest texts). Harmonies are simple and rarely chromatic, enabling choirs of modestforces to master the choral texture with minimal effort.

It is my hope that Simple Choral Gradual will provide textual and musical resources for singingthe entrance, offertory, and communion antiphons as prescribed by the Roman Missal, GradualeRomanum, and Ordo Cantus Missæ, and thus to restore these antiphons to their integral place inRoman Catholic Eucharistic worship. I do not expect congregations to abandon their custom ofhymn singing, nor is this collection intended to displace worship aids currently in use in a givenparish. Simple Choral Gradual is intended to supplement a parish’s liturgical music program byusing these neglected but spiritually rich texts. In the end, it can be judged successful only whenit leads to genuine praise of God through the Church’s liturgy. Introduction

Textual Sources

English texts used in Simple Choral Gradual for the entrance and communion antiphons are fromthe Roman Missal (ICEL, 1985). Psalm verses for use with the entrance and communion anti-phons are taken from The Psalter (The Grail, 1963). Verses from other scriptural canticles aretaken from the New American Bible (Confraternity of Christian Doctrine, 1970). The translationof the Magnificat (Communion for the Feast of Mary, Mother of God) is by the InternationalConsultation on English Texts (ICET). Verses for the entrance and communion antiphons havebeen chosen according to the references given in the Graduale Romanum (Abbaye Saint-Pierrede Solesmes, 1979) and in the Ordo Cantus Missæ (Libreria Editrice Vaticana, 1987). Inchoosing between the antiphon texts in the Roman Missal and the more traditional texts of theGraduale Romanum, I chose the former because they are more readily available for common usein Sunday missals and popular worship aids.

Since the Roman Missal does not contain them, texts for the offertory antiphons and verses havealso been taken from the Grail Psalter, according to the references given in the OffertorialeTriplex (Abbaye Saint-Pierre de Solesmes, 1985). The unique nature of the offertory antiphonhas necessitated some modifications in the ordering, selection, and occasionally, the sense of theverses. In doubtful cases, I have tended to defer to the verses as they appear in the Grail Psalter.In one case (Pentecost: Mass During the Day, page 121), the sense of the Offertoriale waspreserved by using the Douay translation. Verses not from Scripture are taken from the sourcesindicated.

Musical Forms

The form of the entrance and communion antiphons, with their accompanying verses, follows theform customarily used for responsorial psalmody. The antiphon is sung once by the choir or thecantor and repeated by all. The antiphon may be repeated between each set of verses, or onlyafter all the verses have been sung.

Verses are sung using a flexible musical formula composed of two phrases. Each phrase consistsof a reciting note and a cadence. The reciting note can accommodate any number of syllables,which should be sung according to the natural rhythm of the text. The cadences (called themediation and termination for each phrase, respectively) consist of four notes, with an additionalnote (in reduced typeface) to accommodate a fifth (unaccented) syllable (for example, 1 below).Unlike the reciting note, cadences are sung metrically, but their meter is determined both by themusic of the formula and by the natural rhythm of the text. These “natural meters” usually fall

No attempt has been made to notate or otherwise point the different “natural meters” of thecadences. Choirs should spend rehearsal time uncovering and internalizing these meters toachieve an interpretation which is both uniform and natural sounding.

Verses usually are made up of two couplets. For longer couplets, the first line may be dividedinto two phrases, with a one-note cadence at the end of the first phrase (similar to the “flex” intraditional psalm formulas). This elongated couplet may stand alone as a single verse.

For the entrance antiphon, the Graduale Romanum lists one, occasionally two, verses. In addi-tion, the Gloria Patri is given as the final verse, following the ancient custom. The Gloria Patrishould always be followed by the antiphon. The entrance antiphon may be shortened by omittingthe Gloria Patri. On the other hand, additional verses may be sung. (Additional verses are notincluded in this collection, but can be taken from the Grail Psalter and set to the formula givenfor the day.) In any case, the Gloria Patri, if used, should be the last verse sung.

For the communion antiphon, as far as possible, all the verses listed in the Graduale Romanumare given. It is not necessary to sing all the verses. In situations where more psalmody is needed,additional psalm verses may be used. The Graduale Romanum (page 391) suggests Psalms(79)80, (33)34, (22)23, (77)78, (110)111, and (118)119 as suitable for use ad libitum duringcommunion.

Simple Choral Gradual uses two basic formulas for singing the verses, one each for major andminor keys. Both formulas may end either on the dominant or the mediant to ensure a smoothtransition to the antiphon. This is a functional approach which may seem limiting to some choirs.The regularity of the cadences makes it possible to use other formulas of the same pattern. Choirdirectors should feel free to expand their repertoire of Psalm formulas and adapt those alreadyused by their choirs.

The form of the offertory antiphon is somewhat different. In the Offertoriale Triplex, the offer-tory antiphon has two distinct, though dependent, textual phrases. Rather than repeating theentire antiphon after each verse, the offertory repeats only the second phrase. (The entire anti-phon is sometimes repeated, usually after even numbered verses.) The verses are selected—occa-sionally modified—so that the second phrase of the antiphon completes or heightens the sense ofthe verse. This interweaving of psalm verses creates a poetical and theological structure of greatrichness and beauty. To complement this, the verses use an extremely florid and expressivemelody. These virtuosic settings were never intended for congregational singing.

In Simple Choral Gradual, I have attempted to capture the spirit of this unique form in a simplerway. The first phrase of the antiphon, as well as the offertory verses, are sung on a musicalformula. The verses are composed of one, two, or three lines, each of which uses the same musi-cal formula. After each verse, the second phrase of the antiphon is sung as a melodic responsethat completes the sense of the verse.

Since the texts of the offertory antiphons are not included in seasonal worship aids, the offertorymay become the exclusive responsibility of the choir. Nevertheless, the response is compara-tively short, and the congregation should be able to pick it up after a verse or two. It is possiblefor the choir or cantor to sing the first occurrence of the response, and then invite the congrega-tion to repeat it, as indicated by the repeat marks. The response should not be “introduced”before the first verse, since this would obscure the unique form of the offertory and, in somecases, make bad textual sense.

ii IntroductionSimple Choral Gradual

Interpretation

No tempo or dynamic markings are given in Simple Choral Gradual. Musical interpretation ofthe antiphons should follow the general rules governing liturgical declamation. Any additionalclues to interpretation should be governed by a sensitive reading of the text. Musical interpre-tation will also depend on nonmusical considerations, such as the size and ability of the choir, itsdistance from the congregation, and the reverberation of the church. Antiphons use compoundmeters frequently, suggesting a flowing half-note tempo.

Accompaniment

Simple Choral Gradual is intended for unaccompanied choirs. Nevertheless, organ may be usedto introduce the tune of the antiphon, and to support the choir and congregation in singing it. Thisis especially useful in the absence or deficiency of one or more of the choral parts. If necessary,antiphons and verses may be sung by a cantor alone, with or without organ accompaniment.Organ registration should remain light so as not to overpower the singing. When accompanyingthe verses, the organist should hold the chord of the reciting note for the duration of therecitation, rather than attempt to play each syllable. For longer recitations, the organist mayrestrike the chord for each new phrase, in effect breathing with the singers.

6. A pure heart cre- | ate for me, O God, 9. For in sacrifice | you take no delight, put a steadfast spir- | it within me. burnt offering from | me you would refuse, Do not cast me away | from your presence, my sacrifice a | contrite spirit. nor deprive me of your | Holy Spirit. A humbled, contrite | heart you will not spurn.

7. Give me again the | joy of your help; 10. In your goodness, show fa- | vor to Zion: with a spirit of fer- | vor sustain me, rebuild the walls | of Jerusalem. that I may teach trans- | gressors your ways Then you will be pleased with | lawful sacrifice, and sinners | may return to you. holocausts offered | on your altar.Ash Wednesday 43 Giving of Ashes, Responsory¬ b «« ««« «««cf. Baruch 3:5; Psalm (78)79:9